Nigârî's three eight-syllable quatrains: a plain folk utterance explaining the cause of separation through the caged nightingale, the faithful gardener and the hunter.
Mustafa Vâzıh's ghazal with the refrain "olmuş yatur": a lover martyred by the sword of a glance, a sheikh turned disciple and a poet smitten by the beauties of Sultan Bayezid.
Harîmî's ghazal rhyming in "-en": jasmine skin that cheapens the rose, a lion-felling gazelle, an Indian mole that brands the breast and a lover who comes with his shroud around his neck.
Kadı Burhaneddin's tuyugh measuring joy by Baghdad: hearts freed from sorrow are gladdened, and the world honoured by his name turns into a city like Baghdad.
Kara Fazlî's twenty-nine-couplet kaside praising Prince Mustafa's four-year-old son Prince Mehmed with proverbs and wordplay and praying for his long life.
Basîrî's ghazal built on Nevruz: a feast that comes to all but the lover, a square where tears keep the dust down, a sigh that lights the night and a poet burning like a candle.
Münîrî's fifty-nine-couplet Persian kaside for Bayezid II; answering Zahîr's praise of Kızıl Arslan, the Anatolian poet claims that Persian will give him his due.
Adlî's seven-couplet ghazal likening the curls to a chain and the heart to a madman; its attribution is disputed, as Latîfî gives the opening couplet to Mehmed II (Avnî).
The ghazal that opens Sâhib's ghazal section: an unlucky lover who sees a mirage in the sea and whose wine turns to water, the merit of a smile, and rosewater from a cheek.
Osman Gazi questions the market toll, fixes it at two akçe a load and orders that a timar pass to the holder's son; eight couplets close the chapter on his law.
A short ghazal in the mütekârib metre built on questions: are these tears or blood, can the sea scatter pearls like the eye, is it the beloved or fate that torments Avnî?
Refîkî's reveller's ghazal: the ship of the body sinking in a sea of wine, wine that wipes the dust of grief, a languid-eyed cupbearer and a curse on those who will not burn.
The conclusion of Sa‘dī Çelebi's Arabic verse creed: counsel to the soul, praise of the work, a prayer line that gives the date 893 by abjad, and blessings.
The disciple's daily order of remembrance: fifteen requests for forgiveness, rabıta, two cycles of prayer, five thousand “Allah” and the stages of annihilation.
Nigârî's opening couplet likening the corner of unity to a school for the seeker and love to the water that raises a sapling: the link between love and unity.
Mustafa Vâzıh's ghazal built on the repetition "some … some": a beloved who destroys his lovers one by one with glance, lash and sword, and a heart that sizzles.
Harîmî's ghazal in the letter lâm: a lover lost like a camel in rut, a soul awaiting union under the sign of Aries and a last couplet that joins the poet's pen name to the Kaaba's precinct.
Kadı Burhaneddin's tuyugh likening the beloved's eyes to Baghdad's tricksters and lips to Anatolia's wine-sellers: a beauty each of whose graces builds this world.
Kara Fazlî's kaside for the Feast of Ramadan, which describes the crescent in a chain of images, praises Prince Mustafa and voices the hope of his accession.
Basîrî's ghazal on the refrain "knows": the beloved as shah of the heart, a sun-face only sun and moon can know, guests lodged in the lover's eye and speech only the wakeful grasp.
Münîrî's 101-couplet kaside for Bayezid II with the refrain "sun"; a response to Atâyî and Ahmed Paşa in which the sun is first a prophet, then the sultan's doorkeeper.
Adlî's ghazal on the refrain "var" about the pain of love and the danger in the beloved's beauty, which runs from four to eight couplets depending on the manuscript.
Every couplet closes on "âsâ" (like): the lover turns like a millstone, the beloved is carried like a book, the down is admired like a choice couplet, tears scatter like rosewater.
Once the alliance of the tekfurs of Bursa, Adranos, Kestel and Kite is broken and Kite falls, two couplets show Osman as a builder who destroys and rebuilds.
The ghazal of a lover who would not take Ferhad as his apprentice: the free cypress, a soul dug out with fingernails, laments echoing on Bîsütûn and the rusted mirror of the heart.
A nazire that carries the word 'yagı' from Necâtî's spring ghazal into its own couplet, with fresh brands in the meadow, a falcon beloved and the nightingale's red royal tent.
A praise of the saints, a kaside in name and a ghazal in form: saints devoted to remembrance and hidden from the people, “We are nearer” and Hallâc's “I am the Truth”.
Nigârî's couplet saying that in the tavern of unity everyone is busy with a task of his own and none seeks travel, and the two ways in which it can be read.
Mustafa Vâzıh's ghazal of questions with the refrain "mi var": rebabs taking up their strings, a world moaning like a kemençe, an idiom of reproach and the heavens' lost tuning.
Harîmî's ghazal with the refrain "-dur benüm": a beloved who is life's harvest, a stone of separation that becomes a gravestone, sorrow as an old companion and tears that betray the secret.
Kara Fazlî's thirty-seven-couplet kaside that opens with the pilgrimage and the Feast of Sacrifice, plays on musical modes and praises Prince Mustafa above all princes.
Basîrî's ghazal in which the world that is a rose garden to others is a prison to him: a rosary of bloody tears, a cry against the infidel eye and a kiss priced at a soul.
Münîrî's eleven-couplet kaside for Bayezid II on his resolve to wage holy war; angels share the news, the sky dyes itself with dawn's henna, and the poet sends prayers.
Adlî's six-couplet ghazal that ranks a beloved beggar above a king, woven with backgammon terms and a play on his pen name in "‘adl ü zulm", justice and injustice.
The judge Sâhib's ghazal with the refrain "da‘vâ" (lawsuit): libertine against ascetic, Zayd and Amr suing by proxy, a pun on target and betrothed, and a claim that falls with the down.
Two couplets at the end of the chapter in which Osman Gazi has two siege towers built against Bursa, Aktemür's on the side of the hot springs and Balabancuk's on the mountain side.
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